Things That Go Bump In The Night, P2 S
by Rhea's Teleplays
Summary: A man that has been stalking and tormenting Nick and Greg kidnaps them, and broadcasts their eminent death for the world and CSI to witness.
1. Teaser

CSI: CRIME SCENE INVESTIGATION

Things That Go Bump in the Night, Part 2

TEASER

FADE IN:

EXT. MOJAVE DESERT

There's a long stretch of highway in the middle of nowhere. On a section far from any help state patrol, search and rescue, and CSI have converged around a black SUV.

EXT. DESERT HIGHWAY - DAY

Police surround a CSI vehicle, warding off the press that has mobbed this remote area. Catherine stands at the passenger door, holding a small LCD monitor attached to the in dash camera.

SUPER: Present

ON THE MONITOR

**BLAINE** Juhl sits on the hood of the CSI vehicle, fiddling with two phones. Blaine has an innocent, boyish charm and is frequently mistaken for Tom Everett Scott.

This illusion of a harmless sweetheart allows him to get close to his victims before they realize what's happening. His Hannibal Lecter's experience and dark pleasure of torturous murder fuels his desire to murder.

Blaine slides off the hood and loads his prizes into his van. It's hard to see any face, all that can be seen is the CSI on the back of the vests. Which two is it?

Blaine finishes changing the tire, whistling while he works. Blaine blows a kiss into the camera as he walks by one last time, climbs in, and casually drives away.

BACK TO SCENE

Catherine turns her head when Langston walks up. In a gloved hand Langston holds up the dart Nick pulled out.

LANGSTON  
Why would he tranquilize them? I  
thought the website said he was  
going to kill them.

Riley joins them.

CATHERINE  
He wants us to watch them die. This  
wasn't it.

RILEY  
What now?

CATHERINE  
I'll process the SUV. Riley, pull  
their cell phone records and get  
access to their voicemail. He turned  
it off for a reason. While your  
waiting, go through this footage  
until you've seen everything. Ray,  
I want you to go through the evidence  
they collected from the murder scene.

LANGSTON  
You think their triple homicide is  
connected to their kidnapping?

Catherine looks back down the road.

CATHERINE  
He left his last calling card to  
Greg and Nick on a victim there.  
I'd bet my life on it.

SMASH CUT:

OPENING CREDITS.

FADE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. LAS VEGAS (STOCK) - NIGHT

To establish.

INT. WALKER RESIDENCE - NIGHT

Greg and **RILEY** enter the home armed with field kits, passing two policemen.

SUPER: Two Weeks Earlier

In the hall assistant corner **DAVID** is kneeling beside a female victim that is face down in her own blood. It appears as though she's been shot in the back. David looks up at them.

DAVID  
There's another body in the  
backyard that I'm finished with.

The two CSI head to the back of the house.

EXT. WALKER BACKYARD - NIGHT

The two exit the house, standing over the body. The man was shot once in the back of the head.

RILEY  
Initial report had this as a murder suicide.

GREG  
Not unless these two are double jointed.

David comes to the door.

DAVID  
Guys, we have a problem in here. Again.

The two turn. Riley shoots Greg a dark look that Greg pretends not to notice. They follow David back inside.

INT. WALKER RESIDENCE - NIGHT

The body has been turned over. David points to a photograph on the victim's chest, still wet with saliva. Riley pulls on a glove and picks it up. Her jaw sets as she turns to Greg, glaring.

GREG  
What?

Riley shows him the photograph. It's a compromising photograph of the dead woman and Greg. Greg is furious, but he doesn't comment.

RILEY  
This is the fifth photograph of you  
with a recently murdered female.

Riley sets her kit down and pulls out a bag.

RILEY  
And let me guess, you're going to  
say you don't know the victim, you  
don't know how the photograph got  
here, and you're going to tell me  
to mind my own business. Am I right?

Greg meets Riley's eyes.

GREG  
I'll process the back yard.

Greg heads back outside. Riley is livid.

RILEY  
Nick won't talk about these photos  
either. Maybe the two of you should  
stop sleeping with every married  
woman in LAS VEGAS!

EXT. WALKER RESIDENCE - NIGHT

Greg kneels next to the body. He takes a minute to collect himself and then starts processing the scene. His cell phone rings but he doesn't stop to answer it.

EXT. MOJAVE DESERT - DAY

Located 20 miles from Las Vegas is a small retirement community. From the air, it could be mistaken as a community still being worked on. Equipment sits nearby, stacks of lumber and building materials are piled on recently paved streets.

EXT. LOS CASTILLOS LUJOSOS COMMUNITY - DAY

A high fence surrounds the community. At the front gates there are about a dozen finished homes. Beyond that are partially finished houses. Even further back the houses are only foundations. The community died before it ever began.

On the fence and houses notices of potential uranium radiation are posted, warning people to stay away. In key locations cameras monitor the grounds, their wires all leading back to the pool house.

Many of the windows of the pool house have been boarded up or painted black. In a garage across the street is a white van with no license plates.

INT. POOL HOUSE OFFICE - DAY

Through the small, triple pane window on the office door the garage can be seen. The room is converted into a small bunker with reinforced steel on the door and metal brackets on either side to catch a solid metal bar. Soundproof padding covers the walls.

Along one wall it looks like a T.V. station could be run with as much audio and video equipment there is. At the back are several Dell Blade servers, the lights on them blinking happily. One of the server monitors displays a website.

ON THE MONITOR

The website is plain, no graphics. On it, in an extra large font size, are the words:

Two men,  
Two sons,  
Two LVPD CSI...  
...Will Die Soon

BACK TO SCENE

SUPER: Present

Blaine sits in a chair at a desk. He turns to a camera sitting near him and his smile is insane. He picks up a remote control and taps the record button.

ON THE MONITOR

The text fades into streaming video of his webcast.

BACK TO SCENE

His insanity shows in his melodramatic performance.

BLAINE  
Welcome to my newest horror movie!  
Coming to you live from somewhere  
in the United States.

Blaine cackles as he zooms in on himself.

BLAINE (CONT'D)  
My two victims asked, nay, begged  
their supervisor, not to send them  
on a job together. Their co-workers  
should have believed them when they  
said they didn't know anything about  
contaminated evidence or questionable  
pictures. All of these mere steps  
for me, their host, to get them  
alone, without anyone to turn to.  
It made kidnapping them a breeze.  
(Glances at watch)  
Soon these unwilling participants  
will be realize they are... Well,  
going to die. But how, you ask?  
That's the rub, isn't it?

Blaine taps a button on the switchboard and the website changes.

ON THE MONITOR

The video starts wide, showing the deep end of a pool with two men sitting in wooden armchairs placed on a grey mat. A black box sits under their chairs. The view zooms in on an unconscious **GREG** and **NICK**.

A cross bow is aimed at Nick, a shotgun at Greg. Strings are rigged so that if one moves more than an inch, the other dies.

Spots of daylight have found holes in the black paint, but are dim compared to the stage lights surrounding the men. The bright light makes it appear as if there is black nothing behind them. Cameras on tripods cover the two CSI from a dozen angles. Nick is starting to come around...

BLAINE (V.O.) (CONT'D)  
Let the show begin.

INT. LOS CASTILLOS COMMUNITY POOL - NIGHT

It takes Nick a few minutes to realize the situation he's in.

SUPER: Present

He notices something cylindrical under his hand, but he doesn't dare move his arm or hand to see what it is. He can't quite see Greg, just his shoulder.

NICK  
Greg?

Greg slowly comes to with a soft moan.

NICK (CONT'D)  
Don't move. Do you hear me? Do not move.

GREG  
Where are we?

NICK  
I dunno.

Greg starts to lift his hand, pulling the string attached to Nick's weapon.

NICK  
HOLD STILL!

Greg freezes.

GREG  
What? What's wrong?

NICK  
If you move, I'll get an arrow  
through the heart. I'm betting he  
set up something like that over there.

Greg looks at the shotgun.

GREG  
Yeah.

The two sit for a minute.

NICK  
Do you remember anything?

GREG  
Not much. Did we even make it to  
the crime scene?

NICK  
I can't remember.

GREG  
What's with the cameras?

NICK  
Dunno.

BLAINE (O.S.)  
Welcome to your movie debut,  
gentlemen. Smile. The world is  
watching. I've invited your  
friends, families, everyone!

NICK  
YOU WILL NOT GET AWAY WITH THIS!

Blaine laughs.

BLAINE (O.S.)  
But my dear Nicky, I already have.  
As my beloved departed sister would  
have told you, death is just a  
family trait. You do know who my  
sister is, don't you?

GREG  
Petra was as insane as you are!

BLAINE (O.S.)  
(angry)  
And you two killed her for that,  
didn't you?

NICK  
She committed suicide in jail. We  
didn't touch her!

BLAINE (O.S.)  
But you did. You helped find her,  
arrest her, convict her, and when  
she couldn't stand being in jail,  
your very actions killed her. But  
before she died, I promised her I  
would make sure you both understood  
just how wrong you were.

NICK  
We were not wrong! And when they  
find you, I'll sit on that stand  
and put you away too!

BLAINE (O.S.)  
Oh, Nicky, you won't be breathing  
by that time.

Nick presses his lips together. Greg coughs a couple times.

BLAINE (O.S.) (CONT'D)  
How are you feeling, Greg?

GREG  
Why? What did you do to me?

There was no answer.

GREG (CONT'D)  
What did you do to me!?

Nick watches the string dance against the trigger.

NICK  
Keep it together, man. We'll get  
out of this somehow.

Greg relaxes back against the chair, staring down the barrel of the shotgun.

INT. CSI - LAB - NIGHT

Nick is working with clothing evidence when **CATHERINE** stops in the door.

SUPER: Two Weeks Earlier

Catherine holds a clear evidence bag containing a pistol. The pistol has been dusted and has fingerprints all over it. Catherine is somewhere between frustrated and angry.

CATHERINE  
Nick, do you want to explain this?

Nick stops working because he knows this tone. He sets his tools down, turning to Catherine.

NICK  
That's the gun I retrieved from the  
homicide in Green Valley. What about it?

CATHERINE  
It has your fingerprints all over  
it, Nick.

That pisses Nick off.

NICK  
I put on gloves, Catherine! I put  
them on in front of Ray just like  
you told me to. If you don't  
believe me, ask him!

CATHERINE  
He said the same thing. So explain  
how it happened. Again.

NICK  
I can't. I don't know.

CATHERINE  
For a month now, you and Greg have  
been turning in contaminated  
evidence, and yet neither of you  
can explain it.

NICK  
Because we don't know how it's happening!

Catherine presses her lips together.

CATHERINE  
I can't keep making excuses for you  
two. This has to stop.

She drops the bag on the end of the table.

CATHERINE (CONT'D)  
Go help Ray find something else to  
prosecute the shooter on this case  
with, and double glove this time.

Catherine leaves. Nick puts his hands on his hips. His cell phone starts ringing. He pulls it off his belt, looks at the display, and throws it across the room.

INT. CSI - LOCKER ROOM - DAY

Greg sits in front of his open locker, staring into it. His vest and cell phone sit on the bench next to him. **RILEY** comes in and watches him as she puts her vest away.

RILEY  
Are you okay?

Greg looks down.

GREG  
Yeah.

His cell phone starts ringing and he slowly looks at it. Catherine looks from it to him. If an angry glare could blow up a phone, his would be in pieces.

Riley slowly sits down next to him. They both look at the phone when it beeps to let him know a voice mail is waiting.

RILEY  
Greg... I'm sorry I yelled. It's  
just... You and Nick are acting so  
strange, and then there's those  
pictures and evidence with your  
fingerprints all over it. I don't  
know what to make of any of it.

Greg stands. He takes off his sidearm, pulls out the gun box from the top shelf, and puts the gun in it.

RILEY  
I'm pretty open minded, Greg. You  
know you can talk to me about  
anything, don't you?

Greg puts the box back in and picks up his vest. She grabs his arm and he looks at her.

RILEY  
Let's go have a cup of coffee. Talk  
about whatever is going on.

Greg slowly pulls away. He wants to talk, but can't. He puts his vest away and closes his locker, locking the padlock.

CATHERINE  
Since when do you leave your gun at work?

Greg picks up his cell phone, looking her in the eyes.

GREG  
It's safer here. See you tomorrow, Riley.

INT. CSI - LAB - DAY

Catherine enters the lab. Ray, Riley, and **Hodges** are working on separate pieces of evidence.

SUPER: Present

Riley is looking at a hair sample under a microscope. Catherine stops next to Ray.

CATHERINE  
Anything?

He leans back and shakes his head. She shakes her head.

LANGSTON  
Wendy is running the DNA test on  
the rest of the hairs. We should  
know more in a half hour.

Catherine looks at Riley.

CATHERINE  
Riley, why aren't you in the A.V. lab?

RILEY  
I needed to work on something else  
for a while. I can't watch that

video again.

CATHERINE  
There might be something on it--

RILEY  
There isn't anything on it,  
Catherine! We already know his  
face, we already know we can't  
identify him, we already know the  
van had no plates on it. There is  
_nothing_ on it.

Hodges, Catherine and Ray stare at Riley through her tirade. Finished, she storms out. Ray gets up, patting Catherine's arm as he walks past her.

CATHERINE  
I'll handle this.

Catherine nods. He looks at a monitor across the room.

ON THE MONITOR

The website shows Greg and Nick. They are silent, and both are sitting as still as they can to keep the strings from moving.

BACK TO SCENE

Hodges watches Catherine walk over to the monitor and sit down on a stool. He sets down his work and joins her.

HODGES  
They knew this was coming.

Catherine looks up at him.

CATHERINE  
How do you know they knew it was coming?

HODGES  
I overheard a conversation they had  
the day we all received the website invitations.

CATHERINE  
What conversation?

Hodges begins retelling the conversation...

INT. CATHERINE'S OFFICE - NIGHT

Catherine is focused on her laptop monitor as she types a report. On her desk sits an open envelope with 'you're invited' written on it.

SUPER: Five Days Ago

She looks over the top of the monitor when Greg and Nick slink into his office.

NICK  
We were told you wanted to see us  
when we got in.

Catherine glances at his watch. She is at her wits end with the two.

CATHERINE  
Do either of you know what time it is?

Greg looks at his watch.

GREG  
It's ten-thirty.

CATHERINE  
Correct me if I'm wrong, but this  
shift starts at nine. Am I wrong?

The two don't answer. Catherine grabs a form and holds it out to them.

CATHERINE (CONT'D)  
You two were supposed to be at this  
address an hour ago.

The two look at each other. There is a hint of fear in it. Catherine notices the look.

NICK  
You're sending us to the same scene?

CATHERINE  
You are both late, again, and with  
a triple homicide, I need two CSI  
to process the scene. Ray is out in  
Henderson, Riley is working with  
Archie to find out who invited the  
entire country to a website stating  
two of our CSI are going to die.  
So, yes.

What she says elicits more fear from both men, in turn making Catherine more suspicious.

GREG  
It sounds like Riley needs a hand  
here. I'll work the scene alone. I  
could use the overtime.

Greg reaches for the paper, but Catherine pulls it back. This is not helping her anger.

CATHERINE  
Do you two know something about  
these invitations?

She motions at it.

GREG  
No.

NICK  
No.

CATHERINE (CONT'D)  
Then why are you two so reluctant  
to work together?

Together they stumble for an excuse.

NICK  
We just can't...

GREG  
We, uh...

NICK  
We... Haven't worked a case  
together since...

GREG  
Since...

NICK  
We just can't...

GREG  
I... I hate Nick.

NICK  
(nods)  
If I have to work with him, you're  
gonna have to fire one of us before  
the shift is over.

The room becomes uncomfortably silent.

CATHERINE  
Sit down!

Both men obey the sharp order immediately.

CATHERINE (CONT'D)  
I don't know what is happening to  
you two. Why do you two keep telling  
us you're working on case evidence  
that you're not? Why are you two  
leaving and coming to work together  
when you live on opposite ends of  
town? Why have you both been late  
every day for a month? And why have  
you two become so resistant working  
calls together?

Neither answer.

CATHERINE (CONT'D)  
I'd like to help, but that means  
you have to talk to me.

Neither is going to break their silence.

CATHERINE (CONT'D)  
Fine. If you won't talk to me, then  
this stops today. And if you two  
are the enemies that you are  
claiming, and I end up having to  
come to your crime scene for _any_  
reason, you're _both_ fired!

They are stunned by the turn of events, but they don't argue.

CATHERINE (CONT'D)  
Are we clear?

NICK  
Yes, ma'am.

GREG  
Yes, Catherine.

Catherine holds the form out to them again.

CATHERINE (CONT'D)  
Get moving!

The two jump up. Greg grabs the form and they start for the door.

CATHERINE (CONT'D)  
And if either of you are late for  
another shift, I'm writing you up.

The two hesitate, and then hurry out.

INT. CSI - LOCKER ROOM - NIGHT

Nick and Greg enter. Greg sits down on the bench in front of his locker. Nick opens his and gets ready to leave.

NICK  
Come on, Greg. I don't want to see  
what Catherine's like when she's  
really mad.

GREG  
I can't work a crime scene with you  
Nick. Someone's sure to find out if  
we work together.

Nick stops for a moment. He sits down on the bench, looking at his hands.

NICK  
So what do you wanna do? Tell her?

GREG  
I-- I don't know.

Nick rubs his face and leans forward on his leg.

NICK  
We keep saying we're protecting  
them, but are we? Or are we just  
making this just a big mess? I  
mean... I keep having horrible visions  
about how this is going to turn out  
when they find out. They're either  
going to hate us or respect us.

GREG  
At this rate, I vote more for hate.

Nick rubs his face.

NICK  
I'm so tired. I'm tired of staying  
up all day. Pretty soon she's going  
to be on us about the minutes we've  
racked up calling each other.

The two are silent for a moment.

GREG  
When we get back, let's just tell  
Catherine the truth. She'll understand.

Nick nods.

NICK  
Okay. She needs time to cool off,  
then we tell her. Good idea.

Nick stands, collects his weapon and kit.

NICK (CONT'D)  
Meet you in the parking lot.

Greg grabs his vest, badge and field kit, following him out.

On the other side of the lockers, Hodges is shocked by what he thinks he just heard.

INT. CSI - LAB - DAY

Catherine stares at Hodges.

SUPER: Present

CATHERINE  
You're just now telling me this?

HODGES  
I didn't know what they were  
talking about at the time. I  
thought they were talking about...  
You know what? It doesn't matter  
what I thought. I realize I was  
wrong and at the time I didn't  
think it was important enough to  
tell you.

Catherine rushes out of the lab.

HODGES (CONT'D)  
You're welcome.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

EXT. KENT FARM - NIGHT

Nick and Greg climb out of the SUV, grab their field kits, and head inside. The house is in a remote area, the perfect place to murder someone.

SUPER: Five Days Earlier

There are two police cars, Brass' car, and the coroner van parked in the yard. One officer stands next to the front door.

GREG  
At least there's police here.

NICK  
(cold)  
Didn't stop Petra.

Greg doesn't respond. The two enter the house.

INT. KENT FARM house - NIGHT

Just inside the door David kneels next to a female corpse. **BRASS** stands nearby jotting notes in his notebook. David glances at the two but is quick to look away.

BRASS  
It's about time. I was beginning to  
think we'd have to process the  
scene ourselves.

Neither Nick or Greg offer an explanation for their tardiness.

NICK  
What do we have?

BRASS  
We received a call about three  
bodies here; this one, another in  
the kitchen at the back, and one  
out in the garage.

NICK  
T.O.D.?

DAVID  
Between two and five this afternoon.

GREG  
Any idea what killed them?

DAVID  
The one in the garage died from two  
gunshot wounds. The one in the kitchen  
I counted fifteen entry wounds. I  
thought that was a little excessive,  
until I counted holes in this one.  
She has twenty. None of the vics  
had a through and through.

Nick and Greg head off in separate directions. Suddenly the two stop, turning back at the same time.

GREG  
You said one was shot twice, the  
other fifteen, and this one twenty?

DAVID  
Yes. Why?

Greg turns, suddenly anxious. He looks into the house, as if he's expecting something to happen. Nick hides his nervousness a little better.

NICK  
Who discovered them?

BRASS  
An anonymous, Good Samaritan called  
it in. I'm sure it was the killer.

NICK  
Was the call traced?

Brass narrows his eyes, suspicious of Nick's questions.

BRASS  
No. I thought that was _your_ job.

Greg and Nick exchange a worrisome glance.

BRASS (CONT'D)  
Is there something about this crime  
scene I should know about?

NICK  
No. We'll get started with the body  
in the garage.

BRASS  
Together?

NICK  
Yes.

BRASS  
Well, doesn't it normally go faster  
if you two split up? I don't really  
want to be here all night.

The remark makes Nick mad. Greg attempts to intervene before he blows up.

GREG  
Nick, he has a p--

NICK  
(pissed)  
Hey, you know, we're the CSI, and  
if we believe working a location  
together benefits the case, we'll  
do it, alright?

David slowly looks up. The officer standing by the screen door turns, staring at Nick. Brass and Nick stare at each other, but only Nick is angry.

BRASS  
All right.

Nick and Greg walk away. Brass clears his throat, but they don't stop moving.

David watches them disappear, then looks up at Brass.

DAVID  
That was a little weird.

BRASS  
Everything with those two is getting  
weird. You were about to check for  
a photograph, weren't you?

David opens the corpse's mouth and finds a photograph. He pulls it out, unfolding it. Brass leans over. It's a photograph clipped from a newspaper of Greg and Nick processing a crime scene. There is nothing suggestive or intimate about it.

DAVID  
This is different.

BRASS  
How so?

DAVID  
All the other ones I've found have  
them with a woman in some rather  
compromising situations. This is  
the first one that isn't like that.  
They're just working.

BRASS  
Bag it. I'll hold onto it.

DAVID  
You don't trust them?

Brass looks in the direction they left.

BRASS  
I get the feeling they know more  
about what's happening than they're  
telling anyone.

David nods. He finds an evidence bag in his kit and slides the photograph in it.

INT. CSI - CORRIDOR - NIGHT

Langston approaches a meeting room, catching Catherine's eye, but Catherine doesn't leave. Nick and Greg's families are supporting each other through this, and listening intensely to Catherine.

SUPER: Present

The conversation is somber as Catherine tells them what's been happening. She motions to the computer monitor that's been brought into the room so they can watch what's happening to their boys. She answers questions from both families.

She finally leaves the room, stepping into the corridor with Langston. She starts walking, leading Langston away from the room and upset families.

LANGSTON  
I could have helped you with that.

CATHERINE  
I didn't need any. They're being  
very supportive of each other right  
now. Do you have anything new?

LANGSTON  
No. Swing finished the SUV, but  
there's nothing new.

CATHERINE  
Has Riley gotten the phone records?

LANGSTON  
She's working on it. Our carrier is  
throwing up the subpoena red tape.

This is upsetting news for Catherine. Catherine moves a little closer, lowering her voice.

LANGSTON (CONT'D)  
I overheard a rumor before tonight  
that some of the other CSI and lab  
techs thought they were dating.

Catherine is disgusted by the notion.

LANGSTON (CONT'D)  
All any of us really knew is that  
they were falling apart before our  
eyes and none of us had any idea  
why. Had they told us about the  
calls, about their investigation,  
or that they were afraid for their lives--

CATHERINE  
Ray, this guy wanted them alienated  
from everyone who could have helped  
them. Nick and Greg likely knew  
that he would have resorted to  
murder if we started helping them.  
They were trying to protect us.

LANGSTON  
How can you be sure they were  
trying to protect us? That they  
weren't simply set on solving the  
case alone?

CATHERINE  
Something Hodges overheard them  
saying convinced me.

Lab tech MANDY runs into the corridor.

MANDY  
Something's happening!

Langston and Catherine hurry after her.

EXT. KENT FARM HOUSE - NIGHT

Greg and Nick are packing their equipment and evidence in the SUV.

SUPER: Five Days Ago

GREG  
I left a bag on the stairs. Be  
right back.

I/E. CSI VEHICLE - NIGHT

Nick climbs into the driver's seat. He hears Greg talking and looks in the rear view mirror. He's talking to a policeman.

Greg trots over to the SUV and hops into the passenger seat. He drops the evidence bag behind Nick's seat with the other bags before settling back in the seat with a long sigh. He glances at his watch. It's two o'clock.

NICK  
What's up?

GREG  
They're stuck here for another five  
hours. Wanted to know if we'd  
cleared the restroom.

Nick starts the vehicle and pulls out of the driveway onto a dirt road.

GREG (CONT'D)  
(yawning)  
He didn't call us tonight.

NICK  
Maybe he finally got bored.

Greg is having a hard time staying awake.

GREG  
Mind if I catch a nap?

NICK  
Go ahead.

Greg settles into his chair, falling asleep. Nick glances at the radio clock: 2:10 AM.

EXT. DESERT HIGHWAY - NIGHT

Nick pulls onto pavement and sees a van down the road with flashing hazards. Closer he can see the driver is change a flat tire.

Nick turns on his emergency lights and pulls up behind the van. He shakes Greg's arm.

NICK  
Greg. Wake up.

Greg wakes. It takes him a few seconds to become aware of the situation.

NICK (CONT'D)  
This guy needs a hand with a flat.  
Come on.

Nick grabs his door handle to open the door and Greg latches onto his sleeve. Nick looks at him. Greg is staring at the motorist, openly suspicious of the situation.

The driver is dressed like a painter in painter overalls and wears a paint stained cap that shadows his face -- the face of Blaine Juhl.

GREG  
Nick, I don't like this. Let's just  
call the guy a tow truck and get  
our evidence back.

NICK  
Greg, it's just a--

Greg looks at him.

GREG  
Our stalker knows our lives, Nick.  
He knows everything we do. He knows  
what calls we're on. What better  
place to ambush us than in the  
middle of nowhere where help is  
miles away!

Nick yanks his sleeve away.

NICK  
I am _sick_ of this guy controlling  
my life! If this is him, then let's  
get this over with once and for  
all. Are you coming?

Greg doesn't answer. Angry with everything, including Greg, Nick throws the door open and gets out, leaving Greg behind.

Greg considers his options as he watches Nick talk to the man. Nick kneels down by the man, and the man stands, stepping back. Blaine keeps his face hidden in the shadow of his cap.

Greg gets out and joins Nick and the motorist. Blaine takes several steps back and slides his hand in his wide pockets. Greg watches him, his suspicion on his sleeve.

GREG  
It's kind of late for a painter to  
be out here.

BLAINE  
I was headed into work.

GREG  
Kinda early for a painter to be  
heading into work.

BLAINE  
Maybe.

Nick pulls the flat tire off and rolls it aside.

GREG  
What's your name?

Blaine doesn't answer. Greg's instincts have put him on edge to the point he isn't going to tolerate the silence.

GREG (CONT'D)  
I asked what your name is.

Blaine doesn't answer.

GREG (CONT'D)  
Nick we need to go.

NICK  
I'm almost done. Can you hand me  
the lug nuts?

Greg looks down at Nick to insist that they leave, giving Blaine the opportunity he needs to draw a dart gun and shoot Greg.

The dart lodges in the back of Greg's neck. He grabs it but the drug works fast.

Nick springs to his feet as Greg hits the ground, and the second dart lodges into the spare tire. He turns, reaching for his side arm as another dart lodges in his throat. He yanks it out, but enough drug injects to make him woozy.

He fumbles for his gun, draws it, and tries to aim at Blaine. He's seeing six of the serial killer casually loading his tranquilizer gun. Nick shoots and the bullet flies harmlessly into the night.

Blaine shoots him again, the dart lodging into the side of Nick's neck. Nick reaches for it as he sinks to the ground next to Greg. Blaine throws up his arms in triumph.

BLAINE  
I LOVE THIS JOB!

Collecting himself, Blaine pulls a filled syringe and alcohol prep pad the front overall pocket. He pushes Greg's sleeve up, swabs his arm, and injects the fluid.

BLAINE (CONT'D)  
(merrily)  
That should add some drama!

Blaine digs through their pockets and retrieves their phones. He walks over to the SUV and hops onto the hood, lounging across it. He disables the voicemail on both and sets them down on the hood.

Nick doesn't answer. He looks into a camera with a flashing light.

INT. CSI - BREAK ROOM - DAY

The room is packed as people watch a large, flat screen monitor. When Nick looks into the camera they relax. Except for Catherine. She rushes out of the room. Langston follows her, finding her pacing in the locker room.

INT. CSI - LOCKER ROOM - DAY

Langston approaches slowly.

LANGSTON  
What can I do, Catherine?

CATHERINE  
Nothing! We can't do a damned  
thing! We can't save them!

She starts to cry. He grabs her shoulders, stopping her.

LANGSTON  
Stop.

She tries to pull away.

LANGSTON (CONT'D)  
Catherine, stop. This isn't helping them.

She rips her arms out of his hold and continues pacing. He racks his brain for something to calm her down.

LANGSTON (CONT'D)  
Tell me about them. About the day  
they were hired.

CATHERINE  
I didn't hire Greg. Ecklie did.

LANGSTON  
And Nick?

CATHERINE  
Grissom hired him.

LANGSTON  
You weren't there? He didn't tell  
you about it?

Catherine's pacing slows to a stop. The memory has brought her to a peaceful moment when things made sense. It even coaxes out a smile. She sits on the bench and Langston joins her.

CATHERINE  
He did tell me about the interview.  
About the reason he hired Nick.

LANGSTON  
Tell me about it.

CATHERINE  
He had just graduated with his  
bachelors, fresh out of college.  
His transcripts were impressive,  
amazing letters of reference, but  
he had no field experience. So  
Grissom asked him why he should  
hire someone who didn't know  
anything about the job. He told  
Grissom that learning the job and  
processing the evidence was the  
easy part. The hard part was  
solving the crimes to help people  
find closure, even if they were  
already dead.

LANGSTON  
He is a very compassionate young man.

CATHERINE  
It becomes him. Greg too. They're  
both really good guys that don't  
deserve this. They were just doing  
their job. They were just protecting people.

She starts to tear up again.

LANGSTON  
I didn't know Nick was allergic to  
Hymenoptera venom. How severe is  
his allergy?

CATHERINE  
He and I were on a scene south of  
town about four months after he  
started and a bee stung him. His  
epinephrine injector was back in  
the SUV and I tried to make it back  
with him, but it hit him so fast!  
He was near dead by the time I got  
back to him. He was in the hospital  
for three days and that was only  
one bee. This other time he was bit  
by thousands of fire ants and it  
was touch and go for two weeks. He  
went into cardiac arrest seven times.

LANGSTON  
But he always came back. He won't  
give up, and we'll get to both of  
them in time. I know we will.

She doesn't have Langston's confidence. Catherine looks up at a locker.

CATHERINE  
I searched their lockers. There's  
nothing in them that can help us.

Riley comes to the door, holding papers.

RILEY  
I finally got their phone records  
and into their voice mail. For at  
least the last two weeks they were  
each getting messages from this guy,  
sometimes as many as a hundred a  
day. He was keeping them up all  
day, when they should have been sleeping.

CATHERINE  
It's no wonder they were tired and  
late all the time.

LANGSTON  
What were the messages?

RILEY  
All he left was a time. On Greg's  
he left two-fifteen, and on  
Nick's two-twenty.

CATHERINE  
Did you look in their personal  
files on the network?

RILEY  
Yeah. Whatever evidence those two  
have on this guy is in their heads,  
in an empty pool, in some building,  
somewhere in the United States. What  
are we going to do now?

Catherine looks up at Nick's locker. She doesn't have a clue.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. LOS CASTILLOS COMMUNITY POOL - DAY

The two men are silent. Nick's breathing is slightly shallow and he's pallid. Greg has the onset of the flu.

NICK  
You don't sound so good.

GREG  
Neither do you.

Nick looks at a point of sunlight coming through the holes in the paint. Greg looks into a camera with a blinking light.

GREG (CONT'D)  
Do you think there's sound?

MATCH CUT:

INT. CSI - A.V. LAB - DAY

**ARCHIE** is working on a computer. He hears the two talking and rolls his chair over to the computer with the website up.

ON THE MONITOR

The angles of the camera view are rotating. The current one is from the edge of the pool aimed down at the two.

NICK  
Maybe. Not that it would do much  
good. We don't even know where we at.

Greg looks at the floor, looking at something on it.

BACK TO SCENE

Archie moves back a little. He looks across the room into another lab. A large screen has the website up. Archie slowly rises, seeing something he hadn't noticed before.

GREG (ON MONITOR)  
I know where we're at.

Archie whirls around. He grabs his phone and dials.

ARCHIE  
Catherine.

CATHERINE (ON PHONE)  
Yeah?

ARCHIE  
Get to a computer. Greg knows where  
they're at. I think he's going to  
tell us.

CATHERINE (ON PHONE)  
I'll be right there.

Archie hangs up and slowly sinks back into his chair

ARCHIE  
Come on. Tell us, Greg.

NICK (ON MONITOR)  
Lotta good that'll do.

ARCHIE  
No! No, no, no. Ask him Nick. Greg  
tell him. Tell him!

On the monitor

It looks as if the conversation won't go any further. Nick looks at the crossbow.

NICK  
Where are we?

BACK TO SCENE

Catherine comes up behind Archie but the lab tech is focused on the monitor.

ON THE MONITOR

GREG  
We're at Los Cas--

A door slamming makes him stop talking. Footsteps on cement can be heard. Both look in the direction of the noises.

BACK TO SCENE

ARCHIE  
No. No! Greg, where are you!?  
(grabs monitor)  
WHERE ARE YOU!

ON THE MONITOR

Blaine comes into the light, carrying a syringe in each hand that has different colored bands.

BACK TO SCENE

Archie slowly sinks into his chair, his eyes glued to the screen.

INT. LOS CASTILLOS COMMUNITY POOL - DAY

Blaine stops next to them, holding up the syringes.

BLAINE  
One has a light sedative. The other  
is a little pick-me-up. Eat me.  
Drink me. And since you got your  
friend into this, pick a color...  
(meets Greg's eyes)  
CSI Sanders.

Greg just coughs. It makes Blaine grin.

BLAINE (CONT'D)  
Are you feeling under the weather,  
Greggy waggy? Head hurt? Achy all  
over? Tummy feel bad?

GREG  
I feel fine.

Blaine moves close to Greg, careful to stay out of the line of fire of the shotgun. Greg tries to lean away from him but is limited by the strings.

BLAINE  
But you're not fine, Greg. In fact,  
if your friends don't find you in  
four days, you'll die. And in  
another three, you'll have killed Nick.

Blaine looks right into the flashing camera.

BLAINE (CONT'D)  
Oh silly me! I just put a time  
limit on my movie. Oops!

Greg glares at him. Blaine presents the syringes again.

BLAINE (CONT'D)  
Pick a color Greg. Get this over with.

GREG  
Burn in hell!

Blaine stands, shrugging.

BLAINE  
I guess I'll choose. Eenie, meenie,  
minee, moe...

He puts the syringes in a shirt pocket on each word.

BLAINE (CONT'D)  
And Nicky dies.

Suddenly he digs his fingers in around Nick's windpipe. Nick can't fight back and gags for air.

GREG  
RED! I CHOOSE RED!

Blaine lets go and pulls out the syringe. He jams it into Nick's arm.

GREG (CONT'D)  
No! I chose for me!

BLAINE  
Not up on the rules, yet, I see.

Blaine yanks the needle out, then jams the other into Greg's arm and injects it. Blaine turns and walks a few steps. He spins back around.

BLAINE (CONT'D)  
Oh. And feel free to talk amongst  
yourselves. After that last close  
call, I decided to try a silent  
movie instead.

Singing 'Come-On-A My House', Blaine disappears back into the darkness. The effects of the shots are fast. Nick falls asleep. He injected Greg with a hallucinogenic. Slowly the strings are pulled tighter and tighter on both weapons.

INT. CSI - A.V. LAB - DAY

Archie is on the edge of his chair, watching the triggers.

ON THE MONITOR

The screen suddenly goes blank. There's a gunshot and the sound of the crossbow releasing. 'Intermission' appears on the screen.

BACK TO SCENE

Archie gasps.

ARCHIE  
What happened? What the hell just  
happened? Did he kill them?

Catherine lays his hand on Archie's shoulder. It effectively calms Archie.

CATHERINE  
They aren't dead.

ARCHIE  
How do you know that?

CATHERINE  
Because he wants us to watch them  
die. That wasn't it.

Archie looks back at the screen. Catherine leaves.

Archie suddenly remembers what he saw earlier. He rolls over to another computer and brings up the footage. He rewinds to a shot of the pool from above and freezes the video. He prints out the image, grabs a permanent marker, and slowly draws on the paper.

INT. CSI - LAB - DAY

Riley is going through evidence from the triple murder. She jerks back when Archie slaps a photograph in front of her. It's a blurry photograph of the pool. In permanent marker, an outline has been traced around the visible colored tiles but it's not clear what the image is. Riley looks up at Archie.

ARCHIE  
What does the outline look like to you?

RILEY  
This like the pool they're in?

ARCHIE  
It is. It looks familiar, but I  
can't put my finger on it. What  
does it look like to you?

Riley picks up the photograph, staring at it. She slowly shakes her head, handing it back.

RILEY  
It looks familiar, but I can't tell.

Archie takes it, leaving.

RILEY (CONT'D)  
Try Catherine too.

Archie waves. Riley turns back to her work.

INT. LOS CASTILLOS COMMUNITY POOL - NIGHT

Nick is slowly coming too. Somewhere water is dripping. There's a steady beeping. A clock tick keeps time underneath it all. Nick opens his eyes, shakes off the sedative.

His breathing has become worse and the hand he gave the epinephrine shot in is trembling. He stares at the crossbow lying on its side. Only now is he able to tell it had always been a child's toy.

NICK  
Greg?

Greg doesn't respond. Nick unties the strings from his wrists. He leans over to untie his ankles and stops, staring at the gray mat. Slowly he leans over some more, staring at the bright red digits counting down on the bomb under their chairs.

He finishes untying his ankles, and then sits back, clutching the arms of the chair. He jumps when a camera focuses. All around him, the cameras start recording.

INT. CSI - NIGHT

Throughout the building the black computer monitors fade to a dozen images of Nick and Greg. People drop what they're doing to watch.

INT. CSI - BREAK ROOM - NIGHT

In the break room a large monitor shows the website. Catherine, Doctor **ROBBINS**, and Riley push to the front of the people.

BLAINE (V.O.)  
The show doesn't always go on. The  
end is near. The center does not  
hold. Apocalypse now. Twelve hours.  
Six minutes. Time is of the  
essence. Will you figure out where  
they are in time?

ON THE MONITOR

A countdown timer is superimposed over the images. One by one the images disappear, until a camera in front of Nick is left. It zooms in on Nick and the counter moves underneath the image

BACK TO SCENE

Nothing happens for several seconds. Nick moves around in the chair, rubs his wrist, checks on Greg, but he doesn't get up from the chair.

ROBBINS  
Why hasn't Nick gotten up?

Riley moves closer to the screen. She sees the reason and it pisses her off.

RILEY  
Because there's a bomb under their chairs!

ROBBINS  
I really hate this bastard.

INT. LOS CASTILLOS COMMUNITY POOL - NIGHT

Greg's symptoms are worse. He starts coughing hard as he comes around.

NICK  
Greg?

GREG  
Yeah?

NICK  
Listen, man, he tricked us with the  
weapons. They weren't real, but we  
are sitting on a bomb and it's  
attached to a pressure pad.

Greg begins coughing hard again. Nick reaches around and helps untie his arms. Greg leans over suddenly and vomits. Nick lays his hands on Greg's shoulder, holding him in the chair.

NICK (CONT'D)  
You're burning up.

Greg sits back in his chair, closing his eyes.

GREG  
No. I'm freezing.

Nick turns back around, and tries to draw a deep breath, but it's only a short wheeze. In the background water starts running. Greg opens his eyes.

GREG (CONT'D)  
Do you hear that?

Nick turns his head.

Water gushes out from the darkness, falling short of Greg. He turns sideways so he can pull himself into the chair.

NICK  
What is it?

GREG  
The water's ice cold.

NICK  
What is he up to now?

Greg closes his eyes, rubbing his temples. His eyes slowly open. He moves so he can dig into his pocket and pull out his keys. Nick turns.

Greg isolates a blue key and then looks around until he finds the camera that's recording. He turns in his chair to face it and holds the key up.

NICK (CONT'D)  
What are you doing?

GREG  
Riley.

NICK  
What about her?

GREG  
Riley, you gotta know what this  
means. Come on. Think, Riley!

NICK  
What would that mean?

GREG  
I can't tell you.

Nick looks at the camera. He understands why Greg can't tell him.

MATCH CUT:

INT. CSI - BREAK ROOM - NIGHT

At first, Riley is as confused by what Greg's doing as everyone else. Suddenly she makes the connection and digs her keys out, isolating a matching blue key. Realization hits her. She turns to run out of the room, but Catherine stops her.

CATHERINE  
Where are you going?

RILEY  
That's his front door key. I think  
he wants me to look for something there.

CATHERINE  
What?

RILEY  
I dunno, but I'm gonna find out.

Riley pushes through the people. Catherine follows her.

ON THE MONITOR

Already water can be seen in the pool. Greg drops his keys when he starts coughing.

INT. GREG'S CONDOMINIUM - NIGHT

The dark condo waits for its occupant to return. A large fish tank dimly lights the living room. A key rattles the lock and the door opens. Riley and Catherine walk in, Riley flipping the two light switches next to the door. The light reveals a decent sized, split level condo. The place is nice, considering who the owner is.

CATHERINE  
Greg lives here? Alone?

Riley laughs.

RILEY  
I was shocked too. I expected  
something more like a college dorm  
room. But you should see this place  
after he's pulled doubles for a week.

CATHERINE  
Not pretty, I bet. So why do you  
have a key to Greg's place?

RILEY  
When he was out of town last time  
he asked me to feed his fish. He  
said keep it for next time. Lucky  
for us, huh?

CATHERINE  
It would be if we knew why he sent  
you here.

RILEY  
I dunno. There's a den through  
there. And two bedrooms upstairs.  
I'll start up there if you want to  
take the den.

Catherine nods. Riley jogs up the stairs.

Catherine walks over to the den and flips on the light. What she finds stuns her.

CATHERINE  
I found what he sent us here for,  
Riley.

The walls of the den are covered with newspaper clippings and Post-it notes scrawled with Greg's barely legible handwriting. But the disorder stops there.

There is a large sewing table in the center of the room that has been converted into a lighted layout table with a map of the U.S. taped to it. Along the top is a neat timeline that outlines Blaine's life from childhood to adulthood. His name as a child, Jack O'Connor, is noted until he's in high school.

Then the pictures stop and the remarks cross reference paper flags on the map. The last note on the timeline is of him being Petra O'Connor's accomplice. There are several folder boxes sitting along the wall, each labeled in somewhat neat handwriting.

Riley comes around the corner.

RILEY  
Oh wow!

Riley raises eyebrows.

CATHERINE  
If this is what Greg has, Nick  
probably has investigation files at  
his place too. We'll need all of  
them if we're ever going to find  
them in time. Call Ray or Hodges  
and tell them to go to Nick's. I'm  
betting they'll find something like  
this at his place. I'll start going  
through this here.

Riley pulls her phone from its holster and dials as she leaves.

CATHERINE (CONT'D)  
And get me a box.

RILEY  
Okay.

Riley disappears around the corner to make the call.

Catherine walks over to the desk, picking up Greg's iPod. She puts an earbud in her ear and pushes play. The recordings of Blaine issuing fake dispatches play.

CATHERINE  
Why didn't you just tell me he was  
after you, boys?

INT. LOS CASTILLOS COMMUNITY POOL - NIGHT

Water is up to the seats of the chairs, sloshing up on the two. Greg sits slumped over, shivering and coughing. Nick is pulled up on his chair as best he can. Panic has made his breathing more labored.

NICK  
I have an idea. Let's stand up and  
straddle the chairs. It'll keep us  
out of the water for a while longer.

Greg just stares at the water.

NICK (CONT'D)  
Greg.

Nick grabs his arm, shaking it.

GREG  
(whisper)  
Go away.

NICK  
You're not giving up. Not like  
this. Come on, stand up.

GREG  
I can't.

NICK  
Why not?

GREG  
I can't feel my legs.

NICK  
That's just your imagination. The  
flu doesn't cause numbness.

GREG  
I don't think I can stand very long.

NICK  
Greg, the water's going to lift up  
the chairs if we don't distribute  
our weight better.

GREG  
The water will disperse the explosion.

NICK  
Not until it's at least four or  
five feet deep. At best.

GREG  
I don't think I can stand very long.

Nick lays his hand on Greg's shoulder.

NICK  
I won't let you fall.

Greg slowly rises, with Nick's help. They move around so they're straddling the chairs. Greg sways and he starts to sink down. Nick grabs him, pulling him back up.

NICK (CONT'D)  
Whoa, whoa, whoa. Greg, look up.  
Look at me.

Greg tries to focus on Nick.

NICK (CONT'D)  
This isn't working.

GREG  
Ya think?

Nick smiles.

NICK  
I have another idea. Hold onto my shoulders.

Greg obeys. Nick pulls his belt off, turns it around and loops it back through the belt loops. He unbuckles Greg's belt and fastens them together.

GREG  
This idea sucks.

NICK  
It'll keep you up.

GREG  
If I fall, we both fall.

NICK  
If one of us falls, we're both  
dead, so it won't matter much.

Greg sways again and passes out. Nick tries to hold him up but he's too weak. He has to hug Greg to keep him from falling.

INT. CSI - LAYOUT ROOM - DAY

The room is stacked with boxes. Files and photos are spread out on the table. The timeline and map are taped up on the wall lightboards.

The layout table has Greg or Nick's notes, photographs, and computer printouts on it. Catherine, Langston, Riley, and lab techs Hodges, **WENDY**, and Henry are sifting through the files.

WENDY  
They have been researching Petra  
O'Connor's accomplice for three  
months! And no one knew they were  
doing this?

HODGES  
They were protecting us from this  
guy. They must have thought if we  
knew about it, we'd help, and the  
guy would go after us to get to them.

Catherine and Riley are the only ones that don't stop to stare at Hodges. Hodges finally notices when he looks up.

HODGES (CONT'D)  
I'm guessing.

Riley picks out an e-mail print out just as Archie comes in brandishing a photograph.

RILEY  
I have a name.

ARCHIE  
I have a name!

RILEY  
Blaine Juhl?

ARCHIE  
Huh?

CATHERINE  
Archie, what name do you have?

Archie shows them the photograph of the pool he had earlier. This time the permanent marker lines have traced out a full image.

ARCHIE  
I have this friend that's a comic  
book artist and--

CATHERINE  
Skip to the name.

ARCHIE  
Right. Titan, god of the ocean. And  
a dolphin. And I've seen this pool  
before. My grandma was looking at  
that retirement community north of  
Las Vegas. The one that was closed  
because of the uranium mine nearby?

Catherine places a call.

CATHERINE  
Brass, we need to check out Los  
Castillos Lujosos. We'll meet you  
in the parking lot in five minutes.

The CSI leave, leaving the lab techs behind. Catherine returns suddenly.

CATHERINE (CONT'D)  
You three will stay with the  
paramedics until the scene is  
secured. Understood?

Lab techs

Yes.

They follow him out.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

INT. LOS CASTILLOS COMMUNITY POOL - DAY

The water is waist high on the men. Both are suffering from hypothermia. Greg's fever is so high that steam is rising where the cold water laps against bare skin. Greg comes too, staring at the water.

GREG  
We're going to die.

NICK  
No we're not.

GREG  
He's going to win.

NICK  
Stop thinking like that.

GREG  
I wanna die.

NICK  
It's just the flu talking. We'll be fine.

Greg passes out.

NICK  
Greg?

Nick adjusts his arms around Greg so he can rub one of his arms, then the other. He looks up, as if saying a prayer.

INT. POOL HOUSE OFFICE - DAY

Blaine watches the two dying, thrilled by it. He doesn't see a monitor on the far side that shows police cars, CSI vehicles, bomb squad, and two ambulances pull up to the gate.

EXT. LOS CASTILLOS LUJOSOS COMMUNITY - DAY

Police and CSI climb out of their vehicles. Brass notices the camera on the gate. He draws his side arm and shoots it, startling everyone. He looks at Catherine.

BRASS  
His just lost an angle.

No one says anything. The chain on the gate is cut and they cautiously enter.

BRASS (CONT'D)  
The pool house is in the center. We  
don't know where he's at and we  
can't be certain he hasn't placed  
bombs elsewhere. Move out.

They spread out to the other streets, leaving the paramedics and lab techs at the gate.

INT. POOL HOUSE OFFICE - DAY

Blaine notices the camera is out. He taps buttons and makes adjustments, but the screen remains staticky. He grabs a pistol and leaves.

EXT. LOS CASTILLOS LUJOSOS COMMUNITY - DAY

Riley and two officers are walking through a half constructed house. She sees a movement and motions to the officers. Blaine comes around the corner before they can get out of sight.

The killer, CSI, and officers are surprised to see each other, but only for a second. Blaine starts firing at them as he ducks behind a finished wall. A bullet takes out one of the officers. Riley turns back to the officer, but sees the man's partner is with him.

RILEY  
You guys going to be okay?

The officer nods. Riley runs after Blaine.

INT. POOL HOUSE OFFICE - DAY

Blaine runs in and slams the door, sliding the metal bar across it. He grabs a remote control from the control board and leans in, watching a monitor that's showing Nick and Greg. He jams his finger on the control. Nothing happens.

He look up, seeing the men fall into the water. But the bomb doesn't go off. He screams, smacking his hand against the detonator control.

Something hits the door and Blaine spins around. Brass is glaring at him through the small window in the door.

BRASS  
Open this door, Blaine Juhl! You're  
under arrest for kidnapping and  
attempted murder.

Blaine tries the control a couple more times. Brass laughs at him.

BRASS (CONT'D)  
My guess is that's supposed to make  
a ka-boom.

Blaine slowly looks up at him. He drops the remote control and grabs a pistol, pushing the barrel against his head.

BLAINE  
I guess I miscalculated the weight  
of the water, so you should hurry  
right in and get them. The billions  
of little friends in Greg would  
love your company.

Blaine shoots himself.

EXT. POOL HOUSE OFFICE - DAY

Brass steps back. He turns to the police, CSI, and bomb squad. Catherine takes a step toward the pool door and Brass quickly blocks him.

CATHERINE  
What's wrong?

BRASS  
I think Greg is contagious and--

RILEY  
You saw how they looked before we  
left, Brass. We can't wait for you  
to call the CDC.

BRASS  
Look, I understand that--

Catherine gets in Brass's face.

CATHERINE  
We are going to get Nick and Greg  
now, Jim. And you're going to move  
or help.

Brass sighs. He turns, opens the door, and leads them inside.

INT. LOS CASTILLOS COMMUNITY POOL - DAY

The group comes into the pool area, finding empty chairs. Riley sees them on the bottom and dives in to pull them out. CSI, police, and the bomb squad clamor to help her pull them out. The paramedics arrive with the lab techs. Someone cuts their belts and they are separated.

FADE TO: WHITE

INT. CATHERINE'S OFFICE - NIGHT

Catherine looks up from the book she's reading, watching Greg stop just inside the door.

SUPER: Twelve Weeks Later

GREG  
Hi.

CATHERINE  
What are you doing here?

Greg quickly sits down. The sudden movement makes him wheeze a little and he masks a cough like he's clearing his throat.

GREG  
About that... I want to come back to work now.

CATHERINE  
You're on medical leave.

GREG  
Yeah, but--

CATHERINE  
You were infected with the Avian  
flu. You nearly died.

GREG  
Yeah, but that was two months ago and--

CATHERINE  
Greg, go home. In four weeks, the  
CDC will clear you and you can come  
back to work.

GREG  
Catherine, I'm going stir crazy! I  
need to do something. Maybe... Maybe  
part time? A couple hours a day or  
something? I'll stay in the lab.

CATHERINE  
You can't work with DNA, Greg. The  
CDC hasn't cleared you.

GREG  
Ballistics doesn't have DNA --  
usually. And there's Q.D or A.V..  
I'll even work in the morgue.  
They're dead, they won't care.

Catherine can't hold her ground.

CATHERINE  
I'll see what I can do about five  
hours a week. You will stay in  
ballistics and you will not touch  
anything with DNA.

Greg grins.

GREG  
Thank you!

Greg hops up and heads back to the door.

CATHERINE  
Since you're here...

Greg slows to a stop and turns.

CATHERINE (CONT'D)  
You and Nick took files from the  
building without permission.

GREG  
We had to, Catherine. Blaine was--

CATHERINE  
So I've had to fabricate some information.

Greg stares at Catherine, shocked by what she's just admitted.

CATHERINE (CONT'D)  
You two had permission to take  
those files as part of an ongoing  
investigation into Petra O'Connor's  
accomplice. Understood?

GREG  
Totally understood.

CATHERINE  
If I get the hours approved, I'll  
call you.

GREG  
Thank you!

Greg leaves. Catherine smiles, turning back to her book

INT. CSI - CORRIDOR - NIGHT

Greg passes the locker room. The door is open and he sees Nick sitting at the end of the bench. He backpedals, watching him.

Nick holds his hand above his leg, watching it tremble. Greg enters the room.

INT. CSI - LOCKER ROOM - NIGHT

As soon as he enters Nick pushes his hand against his leg to hide the trembling. He looks up and is surprised.

NICK  
I thought you were out for another month.

GREG  
I needed to get out. How are things?

Nick gets up and opens his locker. He tries to hide his still trembling hand.

NICK  
Busy.  
(joking)  
Picking up your slack.

Greg leans against the lockers, watching Nick.

GREG  
What's going on with your hand?

Nick pushes his hands into his pockets, turning.

NICK  
It's nothing. Doctor said it'll  
probably go away.

GREG  
What will?

Nick forces a smile.

NICK  
I'd better get back to work.

He walks to the door. Greg follows him.

GREG  
You off Sunday?

Nick stops at the door, turning to him.

NICK  
Yeah. Why?

GREG  
Maybe we could take your dirt bikes  
up to the hills and terrorize small  
animals and hikers.

NICK  
(smiles)  
I'll meet you at Frank's at eight.

GREG  
Eight's great!

Nick laughs. He pulls his hand out, wagging a finger at Greg.

NICK  
Now there's the Greggo I know. See  
you Sunday.

Greg smiles, watching him leave. His liveliness vanishes now that he's alone. He sits down on the bench, staring at the lockers. The old Greggo may take a long time coming back.

FADE OUT.

THE END


End file.
